February 2008 Reviews
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February 2008 Reviews |
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Rating System... ***** Classic, Essential Purchase **** Very Good. Majority of songs above average *** Good. Solid disc with little filler ** Mediocre. A few above average cuts- mostly filler * Avoid it. Reviews added throughout the month so check often NEWEST REVIEWS LISTED FIRST
Popa Chubby "Deliveries After Dark" (Blind Pig)
LISTEN Popa Chubby "Deliveries After Dark" (** 1/2). Heavy Blues/Rock with boundless, crowd-pleasing guitar girth. The axe grinding is the most appealing aspect to Chubby's new disc. He doesn't play the same 3 or 4 licks ad nauseum. He's inventive and extemporaneous on the axe much like the persona he wears. Regardless, there isn't much songwriting to boast about here; just loping or piledriving rock and simple boogie with sarcastic or blithe lyrics. On the silly "Piss On Your Grave" he lets you know "Ill piss on your grave/I'll stand there and laugh/I'll make sure you know...". This of course raises the question how the deceased will learn of Chubb's bladder braggadocio. Another example of the tossed-off nature of the words is this stanza from "Sally Likes To Run": "Sally likes to run/Sally like to ride...Sally she's a mover/Sally likes to scream..." about a "fast woman". Then there's the self-pitying acoustic dirge "Oh Rock And Roll You Heartless Bitch". Here he grumbles "Oh rock and roll you heartless bitch/You took my soul from me/Left me old and broken down...I face another sleepless night...". It's likely "You Never Loved Me" was inspired by the same woman problem? Okay in fairness one should turn to Bob Dylan or Elvis Costello if lyrics are especially important to your rock. Folks buy Chubby music for the crunch and the "Never Loved Me" crackles as does the pounding "Let the Music Set You Free" and the Jimi Hendrix-inspired title cut. That said this is anorexic on Blues. Al Basile "The Tinge" (***) Jazzy Blues or Bluesy Jazz with Swing & Soul Jazz and, ah, I give up trying to nail it down. Maybe as Fred James said: "Blazz". That gives you an idea. With support from guitar virtuoso Duke Robillard and saxmen Rich Lataille & Doug James (all three members of the original Roomful Of Blues Band) Basille croons and honks his cornet throughout a cache of originals. As always I pay close attention to the singing and Basile possesses a fitting, unassuming, almost conversational voice on the jazzier songs. It serves as another instrument in what's an instrumentalist's album. Gotta love the horns! The disc simply sounds great (produced by Robillard). A couple times I wish the vocals were stronger, such as on the lyrically perceptive "She's In Love With Losing" and the Memphis Soul ballad "Can I Trust You With A Kiss" where his limitations stand out. Nice songs though. The cornet followed by organ solo section on the former is supremely soulful. Conversely he's the microphone man for the job on swingers like "Daddy Got A Problem" and "Go Back Home To The Blues". Stacia Petrie "Ruby Blues" (***). Blues and a little Americana from Detroit songstress who does it well and from her own pen. The folksy rocker "Too Soon" and R & B-flavored "Abandon The Philanderer" are both humorous breakup songs. On "Soon" her ex-hubby "didn't last past the honeymoon" and, no, she doesn't want to be friends. Well, maybe "next millennium". On "Philanderer" she is now in the position to school another woman to "lose that loser. Let Don Juan go home". The band could've punched it up a bit, however. Petrie's too restrained with lyrics so full of attitude. It does feature a tasty lead from guitarist Motor City Josh. Perhaps my favorite track is the empowering "Detroit Women". Though I never do learn exactly how the motor city gals are going to "shake this ground". But I'm warned "they're full blast, you'll get whiplash" and the sexy swagger of the rhythm has me convinced. "Shine On Out" is a melodic candidate for Triple A radio. Think Aimee Mann. Terrific harmony vocals (all by Petrie). She has a clear, slightly thin voice- very pleasing- not aggressive or "oomphful" like most of her peers. She can sing the Blues but she could easily venture more into Adult Alternative Pop territory next go 'round. The acoustic closer "What You're Looking For" convinces me further. As it is it's one of those records that gets better with repeated listens. Tom Principato Band "Raising The Roof" (****) D.C. favorite Principato, winner of nearly two dozen "Wammies" (the Washington Area Music Association's version of the W.C. Handy Awards?), is back with his 17th (counting live sets) album since he went solo in 1984. Prinicpato lead an East Coast group called Powerhouse in the 70s, who also released their own record. His impressive credits also include two albums recorded with Jimmy Thackery as The Assassins. Principato plays his Telecaster with an icy tone like Albert Collins, but with more effects and faster fingers. He's a better guitarist. Perido. "Roof" boasts nine quality cuts ranging from Blues, Reggae, mild New Orleans Funk and even a little Latin flavor. Two chanka-lankin Rhythm & Blues jams kick off the set ("Lock And Key" & "Too Damn Funky") as a warm up until the first great song comes, the reggae rhythmic "In The Middle Of The Night" which smoulders at midboil with Wah Wah guitar, chilly organ and a strong vocal. It's the kind of song I think Eric Clapton has tried to do many times over...just not this well. And Santana would tap his toe to the serpentine glide of the instrumental "Bo Bo's Groove" where organist Tommy Lepson gets to shine. Of course there's more blistering fretwork by Principato here- especially as it boils to a climax. Smokin'! The atmospheric "Mi Solea" is seven-minutes plus of guitar virtuosity. The three covers are also superb- Jimmy Smith's polyrhythmic "8 Counts For Rita", J.J. Cale's "Lies" and Louis Jordan's "Fish Fry". Principato and pals aren't down with the same 'ole cover tunes and the tongue-in-cheek closer "They Called For 'Stormy Monday' (But 'Mustang Sally' Is Just As Bad)" proves it. It's a live recording mocking the typical bar band covers like "Free Bird", "Brown-Eyed Girl", "Stormy Monday", etc...The crowd reacts approvingly and so do I.
Otis Clay
"Walk A Mile In My Shoes" (Echo)
LISTEN Otis Clay "Walk A Mile In My Shoes" (*** 1/2). Like all Deep (Southern) Soul fans I've been waiting for a new Soul CD from Clay since his 1998 outing for Bullseye Blues ("This Time Around"). Since then we've had two releases from Blind Pig Records (1993's "The Gospel Truth" & a live album), and a superb collection of early stuff ("Testify!") so I'd love to announce the long awaited return to Soul is here...but it's not. Or is it? After all "Soul" music owes it's existence to Gospel and "Walk A Mile In My Shoes" is rippling with Soul. An easy highlight is the title track, a slightly restrained take on Willie Hightower's greatest moment. Real horns, real organ. Clay also covers "God Is Standing By", Stevie Wonder's "Love's In Need Of Love Today" and one of his own hits from the Hi Records era ("If I Could Reach Out"). The later is a live version with guest Carla Thomas. Unfortunately the sound quality is a little underwhelming on this duet. Naturally, the most interesting tracks are those new to Clay's canon (like the title song and Wonder track). A simmering arrangement of O.V. Wright's "On Jesus Program" and three pieces written by Soul Stirrer Leroy Crume ("The Love Of God", "Heaven Is My Home" & "His Love"). Leroy and his brother Arthur Crume also back Clay on a riveting medley of well known Soul Stirrer hits (written by Sam Cooke). So this is a super Soul(ful) album and a welcome addition to my collection. Nevertheless I'm still pining for another set featuring all new material. Jody Sticker "Slow Kiss It" (**). Unfortunately Sticker wasn't able to produce a followup to his Chitlin' Circuit hit "Five Minutes" back in 2005. Therefore he quietly dropped this new 10-track set late in 2007. All originals, but nothing as radio and club friendly as "Five Minutes". Even that album was heavy on slinky slowies and midtempo rollers and that's what you get here. The production is demo quality (as is much of independent Southern Soul) and derivative songs like the title cut, "In And Out" & "Baller" are close-but-no cigar tracks. With a bigger budget and a better producer we could have something here. Sticker is certainly worth hearing from again but this release is likely to vanish soon. David G "Southern Blues With A Twist" (****). David G(eorge) has a meaty Soul voice with a little Johnnie Taylor and Otis Clay tones and that's enough to recommend this CD. Actually, it contains a mid-to-high end Southern Soul programming to go along with it. The title track is a dancer reminiscent of JT while "D.G. Shuffle" captures some of that Sir Charles Jones style (G also covers Jones' smash "is There Anybody Lonely"). Both are "party Blues" cuts on par with whatever's out there. The bumpers "Private Party", "Ooh Yeah" and "Number One Lady" are good choices for radio. The latter is pure Mel Waiters if you ask me. Though kicking off with four uptempo songs G kicks it into another gear on the masterfully sung slow jams "Hurt Too Many Times" & "Love Hurt". Love that voice. Again on the cheating songs "Don't Tell Nobody" & "Creeping". G's maiden adventures "Southern Blues With A Twist" may not have an across the board knockout punch but it hasn't a bad track- didn't push "skip" a single time! Bottom line this is as good as any Sir Charles, Wilson Meadows or T.K. Soul disc you own. Patrick Green "Popcorn Man" (*** 1/2). If you were to own only one "PG Man" disc this would be it. Not only does it have his new hit "Popcorn Man" (two versions) but near perfect track picking from his other three releases on his Across The Board label. From "Still A Thrill" you get the title track, "I Need Love", "Girl U So Sexy", "I'm Gonna Be Alright" & "Let's Go Dancing"; then from "Tears In My Heart" (re-titled "Party Tonite") comes "Party Tonite" & "Down To Earth Woman" (but inexplicably no Willie Clayton duet "Rock The Boat") and from his latest "Southern Soul" we have "I Need A Do Right Woman", "Lockdown", "Door Knob" and "I'm Gonna Be Alright". It's not perfect as it's missing the duet with Clayton and contains nothing from PG Man's lone Waldoxy release "Here Am I" but if you don't own a Green CD pick this one up first.
Anthony Gomes
"Live" (Ruf)
LISTEN Anthony Gomes "Live" (***). Lumbering Rock rhythms and bellowing vocals characterize the new outing by guitar hotshot Gomes. With his pretty boy mane and loud fretwork Gomes elevated himself out of the Chicago nightclub scene by virtue of his energetic blooze n' bluster. It may be hard to distinguish him from the glut of similar artists out there except that he often shows his 70s & 80s Rock and Heavy Metal influence. "Won't Let You Down" smells of Journey meets the Alarm. Cuts like "Heartbreaker" are fairly Heavy Metal Blues ala Ronnie James Dio rather than Led Zeppelin (the originators of the song). The guitar solo about 2/3 in is simply laughable for example. Better is the Whitesnake-like ballad "Falling", which is a top notch Pop song. That's quite a feat to go from abysmal to inspired within twenty minutes. That's par for the course- you get a loud slab of noise ("War On War") to an actual song with melody ("Wings Of Song"). This makes for a bumpy ride or one weathered fast forward button. The only real Blues cut is the slow boiling "When The Right Woman Does You Wrong". It's a keeper but this is a rock band at heart. Johnny Max Band "A Lesson I've Learned" (*** 1/2). Max delivers blue-eyed Soul singing with a slight Southern drawl (but he's from way up North!) atop an eclectic mélange of Soul, Blues, Jazz, Rock flavors. Max on vocals, Martin Alex Aucoin on keys, Teddy Leonard on guitars, Garth Vogan on bass and Duncan McBain on drums morph from Booker T & The MGs ("Greezin'") to Delbert McClinton ("Down In History") with ease. The title cut is a superb midtempo Soul coaster with a familiar melody (but I can't place it) that sorta reminds me of another great song that deserved more attention (Larry Garner's "When The Blues Turn Black"). The bar band boogies "We're Gonna Do It (All Night Long)" and "Jack & Jill" are fun lighthearted fluff and Don Covay's "Have Mercy" is convincing laidback Soul. Being there's a frequent Staxy undercurrent the band could've used a little more punch here and there but perhaps that's by design. Big George Brock "Live At Seventy Five" (**) Recorded in May 2007 at Clarksdale's Ground Zero Blues Club Brock, now aged three quarters of a century, delivers a fair if mundane set of originals and hoary covers by Muddy Waters, Little Walter and Howlin' Wolf, each of whom he once played with all them years ago. But to be honest it's hard to appreciate Brock's "Forty-Four Blues" after loving the Wolf's version for so long. It's just one of those covers that are annoyingly superfluous on record. Hearing it in person at a club is one thing but I have no need for a lifeless run through for posterity. Same goes for "Cut You Loose". It's just plain so-so. Same goes for his own "M is For Mississippi". His timing is off throughout. The locomotive harmonica Blues "No No Baby" is one of the better moments but you should grab his two previous studio releases ("Round Two" & "Club Caravan") instead. If a live album doesn't add a significant number of new additions to one's catalog or offer something fresh on live versions of the album counterparts what's the point? Honeyboy Edwards "Roamin' And Ramblin'" (***). This is a generous helping of 19 tracks including 11 newly recorded and a smattering of obscure pieces from 1942, 1975, 1976 & 2004. Being Edwards' Country Blues style has stayed true all these years means the set sounds seamless. Of course 1942's "The Army Blues" & "Freight Train Tale", recorded by Alan Lomax for the Library Of Congress, reflect the primitive recording techniques of the time but serve as fine interludes here. Let's not forget he is a living link to Robert Johnson if that gives any indication of his history. Two 1975 tracks ("Jump Out", "Smoky Mountains") feature Big Walter Horton on harmonica. The most recent tracks feature guests like Bobby Rush, Billy Branch, Kenny "Blues Eyes" Smith & Johnny "Yard Dog" Jones. Sugar Blue also appears albeit on a 1976 recording of "I Was In New Orleans Last Night". Branch and Rush are prominent on the circa 2007 sides. Rush plays harmonica here and there, picks some guitar lines and reminisces about Little Walter in one of two recorded conversations with Edwards. Branch lends his mouthharp on three cuts recorded in September 2007. Yes it's a hodgepodge collection, a laidback, tossed off set that works. But keep in mind it's a listenin' record not a dancin' record for sure. Eric Sardinas & Big Motor "S/T" (** 1/2). Sardinas almost had me on board via the first four cuts of this self-titled disc. "All I Need" is a rockin' song with a cool acoustic slide intro. "Ride" and "Gone To Memphis" are two terrific Black Crowes-worthy shots of Southern Rock. Sardinas, vocally restrained, actually delivers a knack for melody in his phrasing. Meanwhile, "Find My Heart" is a roadhouse booty shaker that had my foot stompin'. But then came the expected sub-George Thorogood slide blooze "It's Nothin' New", cacophonous screamer "Just Like That", an atrocious Elvis Presley cover ("Burning Love"), groove-heavy but melodically dunderheaded "Wonderin' Blues" & "Door To Diamonds". There's an audience for this testosterone-soaked tantrum but one wishes the promising beginning of this set would've been fulfilled. As it stands you have a solid EP and plenty of typical Sardinas filler.
Ms. Jody "I
Never Take A Day Off" (Ecko)
LISTEN Reviews by Steven Alvarez Ms. Jody "I Never Take A Day Off" (***). To me Ms. Jody is Peggy Scott-Adams-lite. She has a similar tone and style just softer. That's not meant as a knock against "Jody" who has struck gold with the Southern soul steadies. Her last Ecko album has barely started to fade before we are treated to another one and it's slightly better than it's predecessor. Yes the sound is "boilerplate" (a favorite adjective of Living Blues when it comes to Ecko) but full bodied (hey I used to be a wine critic). The Chitlin' themes are all here. The clever "Energizer Bunny" is a cousin to Shirley Brown's "I Got To Sleep With One Eye Open" in that her man is a nympho. A simple Soul swayer with an especially solid vocal from the female Jody. Her man just "goes on and on and on and on." Can't imagine too many women complaining about that! "Lonely Housewife" could fit thematically on the soundtrack to the dreadful TV show "Desperate Housewives". The best stab at Blues yet from our gal. Not everything hits though. "Two Strikes You're Out" is lyrically tired and "I'm Evening Up The Score" your typical what's-good-for-the-goose-is-good-for-the-gander tale. "I Never Take A Day Off" is a success nevertheless. Stan Mosley "Man Up" (****). They do make them like they used to when we're talking "true Soul voices". Stan Mosley, he sing not Pretty, but Gritty. Actually he can sing quite lovely too like on the knockout slow numbers "Mr. DJ" (a real summer slow jam for sure) and "Bitter With The Sweet". Hitmaker Floyd Hamberlin Jr. produced and wrote the 10 songs (plus two alternate versions) and his string of hits should continue (think Tyrone Davis' "Sugar Daddy" & "Bangin' The Headboard", Denise LaSalle's "Mississippi Woman" for example). The appropriately titled "Man Up" is one hundred percent "Southern Soul" or "Party Blues". A large percentage of potential hits here. Along with the already mentioned "Mr. DJ" I found my head bobbing to the midtempo "Backbone" which may just be the closing chapter of that long running Clarence Carter Strokin'/Theodis Ealey "Stand Up In It" string thread. Mosley breaks it down simple. He ain't no Theodis. No Marvin Sease. No Love Doctor but says "I'm gonna just do my same own move...I'm just gonna do what I do...put my backbone in it!". Stan is manning up indeed. For the club I can hear the exciting "I Came To Party", thumping "Man Up" and "Barstool Woman" but to me the tops goes to "Startin' 2 Stop". Just a terrific shuffle bumper with a sugary guitar lead line and some great harmony vocals. Oh and Stan's singing is fine too! Wendell B "Time To Relax...Life, Love & Relationships" (*** 1/2). The hyperbolic intro and too many interludes may stymie some of the joy here but Wendell B is an incredible singer. Yes they call him the "new Luther Vandross" and so on but all hype aside truth is you can't help but be captured by the man's Soul. The drop dead fantastic first single "She Didn't Have Ta Hurt Ya Boy Like That" has been out for a few months making this an eagerly anticipated release. I really can't prattle on enough about how great this track is. Perhaps that's why he put it out way before the album was ready. It just couldn't wait? In fact his holiday outing "Save A Little Room For Me" dropped inbetween. Whatever it may be this track alone is worth full price. Though Wendell has found a Southern Soul audience it won't be long before he's pulling down mainstream R & B money. Many midtempo creepers and steamy Soul with an occasional taste of Hip Hop ("Bounce") rhythm (with a little lite Rap from Diggy) fill out the all original cuts. Without the interludes it would rate even higher. Pookie Lane "Southern Woman" (*** 1/2). Like the recent debut by Bigg Joe we have Jerome "Pookie" Lane making his introduction with a familiar synth-pushed Southern Soul hit (the title track) but turning out to be a superb boudoir balladeer rather than your cookie cutter party singer. Commencing at track 2 (the gorgeous "Love The Way We Used To"), the Pookie man croons like there's no tomorrow and he's got one night left with a beautiful woman! Smooth silk pajama slow jams like "Knockin'", "Moments", "Come Into My Bedroom", "Work It Out" and "Pretty Brown Girl" will make the ladies swoon. Cool Rhythm & Jazz flourishes on "On And On" keep things from getting monotonous. The sentimental closer "The Tribute" remembers Johnnie Taylor, Tyrone Davis, Little Milton and all the greats who've shed their mortal coil. Nearly eight minutes of soulful testifying. Pookie Lane is for all of us who love the human singing voice first and foremost in music.
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